Vatsala’s Brilliant Preface:Her Favourite Stories…continued

 

img_1830Preface…….continued

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‘The stitching machine’ is  a story about my own stitching machine. It is not just a source: the whole narrative is about the different experiences that it has gifted me. I still use one. The predecessor was taken away by a trader last year. He forced the new one onto me. No woman can let go easily of an appliance that she has been using for a while. The fate of both a spoon with its  edge broken off or a dilapidated stitching machine is the same. The grief of the woman is very genuine in both the cases. It can be seen as the holy remnant of an old culture. It is not applicable to today’s throw away culture- because, nothing is allowed to reach the satiation point at all. Hence there will not be a story related to a modern day consumer good- of having touched a human heart.

There is a special episode behind the writing of ‘ Vidyadharan.’ Once DC Kizhekkemury had told me that the dirtiest place in the world was Kashi. The stain stayed in my mind till I reached there. Once I saw Kashi, my whole life perspective changed. On one evening, having seen enough of other sights, we rented a boat and went along with MahaGanga’s flow. Gangaji was resplendent : a sea which removed all the dirt of the world.The flow swallowed all the agonies and kept the river eternally pure. A school of fish played alongside the boat merrily; like toddlers in a playpen. They raced back and forth touching our boat. Then, as if that was not enough, came the floating corpse. It would have terrified me had I seen it so in my home state.

Here, it was different. First I thought that a trunk of aloewood -chopped down by someone- with four branches on its sides, was floating on the waters. Soon it came near and travelled along the boat, occasionally caressing it. The fishes played hide and seek through the ruptures on the face. They emerged as a procession at times. ‘Who was this faceless one in his just concluded birth?’From this thought came the story,  Vidyadharan.’

From that day, I  have been able to look at death with equanimity. It is a miracle. My first encounter with death had been at twenty six, when my grand mother passed away. That was a serene experience: granny’s ending was like the  natural snuffing out of a lighted lamp. Probably this incident was a part of the treasury of experiences that I relied upon while writing this story.

What we see by the light of the sun need not be the real sight. The insight gleaned by the experience of the inner eye- that would be the truth. I recognised that. That is all. Here, I am stopping.

Vatsala, 2007

 

Her Favourite Stories: (Translation of Vatsalaji’s Preface)

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Ente Priyappetta Kathakal: Preface to her favourite stories

Translated From Malayalam

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When I admit that certain stories of mine are dear to me, it is akin to admitting that I love one child much more than the others -among my  own children. Among stories, each differs from the other in terms of ‘craft’.

Every story is the preface to the life experience it holds within. That is because the space inside a story is restrictive. That which is unsaid is more than what is said. Consequently, some readers query – whether the story actually ended with the end of narrative. The truth is that every story ends in the mind of the reader.

The writer is a creator only when the story is being told. It is similar to human life. The poor fellow moves forward with certain aims: but what happens finally is beyond his control. Neither his desires nor his wishes have much role to play in it. I believe in ‘reaping what one sows.’

My beloved stories are those which were written when the mind was at its creative peak. Certain coincidences were the deciding factors of such experiences.

Let me elucidate on the process of conception of certain stories. ‘Panguru’ is a flower. It is seen at the Karnataka border of Tirunelli.I have never seen it with my eyes. Yet, I know a forest-healer, who made me feel its living presence. He is a vaidyan ( healer ) by tradition. When I met him, he used to disappear into the forests- not simply to gather medicinal herbs, but because he had nothing better to do.

He arrived at my cottage by the forest side, after such a wild sojourn. Just to see me. One cannot expect such gestures of affection in today’s city life. That is why I banish myself into the forests occasionally.

The young healer had the gift of narrating tales. Typically they were about his facing the wild tuskers. All fancies. Randomly there would be a gleam of truth. Once he narrated about climbing the Panguru creeper- while escaping from an elephant. His story would usually stretch into a series of stories. The cost would be around two hours of my time.

The Panguru blooms in spring. The creeper- thick as a human hand- climbs the most magnificent of the trees around. It will ascend to the very top on its quest to touch the sun. There it will burst into blossoms. It resembles the flowers of a palmyra tree. In our culture, the palmyra tree flowers are symbolic of a yakshi’s tresses. ( yakshi: a gorgeous and lethal female spirit). From this spark , my story was born. From a phantasmagoric seed sprouted a phantasmagorical story. Many years later- while reading a Kannada story- I found out that the flower in my story was actually real.

**( To be continued)